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Yamaha CBX-D5 Operating Manual Download Page 71

27

27

Add-27

Channel N parameter  

System

Rec Monitor on/off

0 

Valid only for ch 0, 1

Reserved

1

Reserved

2

Reserved

3

Reserved

4

Reserved

5

Vol,Efct Snd

Channel Volume

6

Reserve

7

Bus 1 Select

8

Bus 2 Select

9

Bus 3 Select

10

Bus 4 Select

11

Bus 1 Volume

12

Bus 2 Volume

13

Bus 3 Volume

14

Bus 4 Volume

15

Effect Send 1 Level

16

Effect Send 2 Level

17

Reserved

18

Reserved

19

Reserved

20

Reserved

21

Reserved

22

Reserved

23

DEQ

Reserved

24

Reserved

25

Reserved

26

Reserved

27

Reserved

28

Reserved

29

IIR 1 Parameter * 
 

30

* IIR n Parameter

Type

0

37

Frequency

1

IIR 2 Parameter * 

38

Gain

2

Q

3

45

Reserved

4

IIR 3 Parameter * 

46

Reserved

5

Reserved

6

53

Reserved

7

IIR 4 Parameter * 

54

61

Reserved
 :
Reserved

62

69

Summary of Contents for CBX-D5

Page 1: ...CBX D5 DIGITAL RECORDING PROCESSOR Owner s Manual 2 OPERATING MANUAL ...

Page 2: ... line filter s In the case of radio or TV interference relocate reorient the antenna If the antenna lead in is 300 ohm ribbon lead change the lead in to co axial type cable If these corrective measures do not produce satisfactory results please contact the local retailer authorized to distribute this type of product If you can not locate the appropriate retailer please contact Yamaha Corporation o...

Page 3: ... PARTS INSIDE REFER SERVICING TO QUALIFIED SERVICE PERSONNEL ENVIRONMENTAL ISSUES Yamaha strives to produce products that are both user safe and environmentally friendly We sincerely believe that our products and the production methods used to produce them meet these goals In keeping with both the letter and the spirit of the law we want you to be aware of the following Battery Notice This product...

Page 4: ...ure Placement of this product close to heat sources such as radiators heat registers and other devices that produce heat should be avoided 1 2 3 4 5 6 7 This product was NOT designed for use in wet damp locations and should not be used near water or exposed to rain Examples of wet damp locations are near a swim ming pool spa tub sink or wet basement This product should be used only with the compon...

Page 5: ......

Page 6: ...gital input levels 21 Setting the analog input level 21 Input level meters 21 Headphone monitoring 21 Digital audio data containing SCMS 22 Digital audio data with emphasis 22 20 bit digital audio 22 8 Playback 23 Playback frequency PB FREQ 23 Output level meters 23 Sound file playback compatibility 23 Sound file regions 24 9 Converting the Sampling Frequency Digital Audio Format in Real Time 25 1...

Page 7: ...emanded of the computer eliminating data bottlenecks and slow screen redraws Host computer connection allows direct connection to a computer without a MIDI interface Operating manual organization The CBX D5 is supplied with three manuals this Operating Manual the System Setup Guide and a Test Program manual This Operating Manual contains full details about the CBX D5 Digital Recording Processor wh...

Page 8: ...s of Apple Computer Inc Atari ST TT and STE are registered trademarks of Atari Corporation Mark of the Unicorn is a registered trademark of Mark of the Unicorn Inc All other trademarks are the property of their respective holders Powering up a CBX D5 System Some computer systems are a little bit fussy about which devices are switched on first especially when a SCSI daisy chain is introduced into t...

Page 9: ... EBU European Broadcasting Union It is used to transfer digital audio data between professional digital audio equipment Usually two channels of digital audio left right are carried in one XLR type connection Although similar to the CD DAT format it is primarily intended for professional usage AES EBU format connections can be found on most professional digital audio equipment including hard disk r...

Page 10: ... clock master and all other devices operate as word clock slaves The frequency of the word clock corresponds directly to the digital audio data s sampling frequency If you only connect two digital audio devices say the CBX D5 to a DAT recorder word clock setup is quite straight forward and no word clock connections will be required However when three devices are connected serious thought will need...

Page 11: ...tes of hard disk space to record 10 minutes of stereo digital audio fs 44 1kHz The available recording time can be increased by simply adding more or larger hard disk drives to the SCSI daisy chain CD quality editing The CBX D5 records audio data at a 16 bit resolution and with 44 1kHz and 48kHz sampling frequencies it provides all the sound quality benefits of the Compact Disc format such as fait...

Page 12: ...OLLER DSP EFFECTS Fs CONVERTER Fs CONVERTER Fs CONVERTER Fs CONVERTER Fs CONVERTER Fs CONVERTER PLAYBACK WORDCLOCK RECORD WORDCLOCK RECORD BUFFER RAM Y2 INTERFACE S PDIF INTERFACE AES EBU INTERFACE AES EBU INTERFACE D A CONVERTER D A CONVERTER D A CONVERTER D A CONVERTER ANALOG IN 1 ANALOG IN 2 AES EBU IN 1 2 CD DAT IN 1 2 Y2 IN 1 2 WORD CLK IN WORD CLK OUT ANALOG OUT 1 ANALOG OUT 2 ANALOG OUT 3 A...

Page 13: ...wing diagram shows how the CBX D5 can be integrated into a MIDI sequencer based music production system MIDI OUT MIDI OUT SERIAL PORT TO HOST MIDI IN MIDI SOUND SAMPLER MIDI DRUM MODULE MIDI TONE GENERATOR MIDI MULTI EFFECTOR MASTER RECORDER MONITOR AMP HOST CABLE AUDIO CABLE MIDI CABLE SCSI HARD DISK CD DAT YAMAHA CBX D5 SCSI GROUP OUT x2 LINE IN x4 DIGITAL TRANSFER ...

Page 14: ...Q indicators Indicates the selected sampling frequency for recording 48kHz 44 1kHz 32kHz and 22 05kHz analog inputs only The sampling frequency selection is made by the controlling software 4 PB FREQ indicators Indicates the sampling frequency of the digital audio data that is being output by the CBX D5 48kHz or 44 1kHz The playback sampling frequency setting is made by the controlling software Wh...

Page 15: ...A stereo 6 35 mm 1 4 inch phone jack used for connecting a pair of stereo headphones All four CBX D5 audio channels can be monitored channels 1 and 3 appear in the left speaker and channels 2 and 4 in the right NOTE Unlike peak meters on analog equipment that light up approximately 3 6dB before signal clipping CLIP LEDs on digital equipment light up when the signal has actually clipped Digital aud...

Page 16: ...first be connected to a preamplifier then to the CBX D5 2 ANALOG OUT 1 4 Four male XLR 3 32 type connectors used for outputting channels 1 4 as analog audio signals These are balanced outputs with a nominal output level of 0dBm and a maximum output level of 17dBm These could be connected to the inputs of a mixer amplifier tape recorder or DAT recorder 3 AES EBU IN 1 2 A female XLR 3 31 type connec...

Page 17: ... same connection This could be connected to one of Yamaha s digital audio products such as a DMR8 Digital Mixer Recorder DMC1000 Digital Mixing Console DRU8 Digital Recorder SPX1000 Effect Processor or the DMP series of Digital Mixers 8 Y2 OUT 1 2 An 8 pin DIN socket for outputting Y2 Yamaha format digital audio This could be used to transfer digital audio data from the CBX D5 to one of the Yamaha...

Page 18: ...are This can be used when your computer does not have a MIDI interface i e MIDI input and output connections See TO HOST connection on page 30 for more details D TO HOST select switch This switch setting depends on the type of computer connected to the TO HOST connector See TO HOST connection on page 30 for full details E SCSI connectors Two 50 way Amphenol type connectors used to connect the CBX ...

Page 19: ...h more digital data which means a bigger sound file See Sampling frequency REC FREQ on page 20 for more details about selecting a sampling frequency Although it is doubtful that you will ever buy a hard disk smaller than 40MB for use with the CBX D5 the values below 40MB will be useful for checking the remaining record time that is available on a hard disk that already contains some sound files Ha...

Page 20: ...it Does it have two SCSI connectors You need two to continue the SCSI daisy chain Are the SCSI connectors 25 pin D SUB or 50 way Amphenol Macintosh computers are fitted with a 25 pin D SUB connector while most other SCSI devices have a 50 way Amphenol connector Are the SCSI cables supplied If not you will need to purchase them separately Can the SCSI ID be set from 0 7 for Macintosh you only need ...

Page 21: ...to use just one external hard disk it is highly recommended for the sake of data integrity that you use at least two external hard disks one disk for your computer software and data such as Cubase Audio MIDI song files etc and the other disk purely for recording CBX D5 sound files Atari TT The Atari TT has a SCSI connection built in so a SCSI hard disk drive can be connected directly Atari TT comp...

Page 22: ...r SCSI ID 7 is reserved for use by the computer and ID 0 for the internal hard disk Do not use either of these IDs for any other SCSI device In the Atari ST STE system shown above five SCSI devices are connected in a daisy chain Hard disks must be set with continuous SCSI IDs starting from 0 0 1 2 3 However the CBX D5 can be set to SCSI ID 5 or 6 Do not set any device to SCSI ID 7 In the Atari TT ...

Page 23: ...e end of the daisy chain Other devices like the CBX D5 are supplied with an in line type terminator and this can be connected as shown below NOTE If the SCSI daisy chain is not terminated correctly numerous problems including data corruption system crashes and intermittent glitches can occur If you have just set up your SCSI daisy chain or have added a new SCSI device to it and it is not working a...

Page 24: ...omputer s desktop Sound file management By double clicking on the disk s icon you will be able to access sound files stored on the disk Sound files can be copied deleted size checked etc using the same menu commands that you would use for your other computer files Sound file backup Because the CBX D5 s sound files can be managed just like your other computer files sound files can be backed up in m...

Page 25: ...rding may stop This is not a problem with a completely empty disk but if a sound file is deleted the next recording might start in the deleted space and recording might stop because there is not enough continuous empty sectors available This will be more noticeable on a smaller hard disk where you have to keep deleting unwanted sound files to make way for new recordings The answer is to use a good...

Page 26: ...roadcasting transmissions use this frequency although some may also use 48kHz 22 05kHz At this frequency an audio bandwidth of about 10kHz is available This frequency is widely used in multimedia applications It might not seem very useful for your audio applications but if you are limited by hard disk space or the audio material you are recording already has a limited bandwidth it may be useful Wh...

Page 27: ... produces unpleasant distortion pops and clicks and unless you have some very sophisticated editing equipment it is impossible to remove it after the event So great care must be taken when setting the recording level With a digital audio recorder such as the CBX D5 noise and hiss produced by setting the recording level too low is not a problem However setting the recording level too low will reduc...

Page 28: ...with emphasis For some recordings emphasis is applied to a digital audio signal During playback this emphasis is automatically detected by the replay device and de emphasis applied You may have seen the word EMPHASIS appear on a CD player or DAT recorder when a prerecorded disc or tape with emphasis was played back The CBX D5 has no emphasis functions so if a digital signal that has been emphasize...

Page 29: ... 44 1kHz recorded sound file at 48kHz and little to be lost by playing a 48kHz recorded sound file at 44 1kHz Output level meters The four output level meters show the output level of each channel The output level of each channel can be controlled by the controlling software The maximum output level is 18dBm So an analog output signal of about 18dBm will light the CLIP LED Sound file playback comp...

Page 30: ...e may allow you to select a section of a sound file so that it can effectively be handled as an independent piece of sound data Using different channels the CBX D5 can playback two overlapping sections from the same sound file simultaneously REGIONS A B CAN BE PLAYED SIMULTANEOUSLY REGION B REGION A SOUND FILE ...

Page 31: ...ce versa Sampling frequency conversion is useful if you have some DAT tapes maybe masters recorded at 48kHz and you want to transfer them directly to a CD disc recorder that will only accept digital audio data at 44 1kHz Digital input and output source record and playback sampling frequency settings are all made via the controlling software so you will need to refer to your Software Manuals The di...

Page 32: ...elow shows how a balanced XLR to unbalanced phone jack connecting cable should be wired ANALOG OUT Four male XLR 3 32 type connectors used for outputting channels 1 4 as analog audio These are balanced outputs with a nominal output level of 0dBm and a maximum output level of 17dBm These could be connected to the inputs of a mixer amplifier tape recorder DAT recorder etc Cable wiring is the same as...

Page 33: ...AES EBU IN connection CD DAT IN A Phono RCA jack for inputting CD DAT format digital audio Two channels 1 and 2 left right are carried in the same connection This connection could be connected to the digital output of a CD player or DAT recorder and allows digital audio recording without multiple D A A D audio data conversions Some MIDI samplers are fitted with this type of connection In this case...

Page 34: ...a word clock master and all other devices operate as word clock slaves If you connect only two digital audio devices say the CBX D5 to a DAT recorder word clock setup is quite straight forward and no external word clock connections will be required This is because the AES EBU CD DAT and Y2 formats carry word clock information within the digital audio data However when three or more devices are con...

Page 35: ...ital audio is fed to the CBX D5 first then to the digital mixer The CBX D5 generates a word clock signal based on the data from DAT No 1 and feeds this signal to DAT No 2 which syncs to the external wordclock The digital mixer derives its word clock from the AES EBU inputs WORD CLOCK SOURCE CBX D5 WORD CLK OUT CBX D5 WORD CLK IN AES EBU Input Outputs a word clock signal at the internal clock rate ...

Page 36: ...801 or IBM PC AT compatible type computer fitted with a MIDI interface Most MIDI music software can be used with this type of connection The HOST SELECT switch should be set to MIDI The connecting MIDI cable should be of the type described in the TO HOST computer connecting cables on page 33 The table below explains how the MIDI signals are handled in MIDI mode Connection Function TO HOST RECEIVE ...

Page 37: ...d in Mac mode MIDI data is carried to and from the computer via the TO HOST connection Connection Function Details TO HOST RECEIVE MIDI data is input processed then fed to the MIDI OUT port Synchronized Data format 8 bit 1 stop bit no parity 1MHz clock from CBX D5 to serial ports HSKi data pin SEND MIDI data received at the MIDI IN port is output When the CBX D5 is transmitting its Bulk Dump data ...

Page 38: ...C 2 connecting cable shown on page 33 2 Set the CBX D5 s HOST SELECT switch to PC 2 3 Switch on the computer and the CBX D5 4 Start the computer music software The table below explains how the MIDI signals are handled in PC 2 mode MIDI data is carried to and from the computer via the TO HOST connection Connection Function Details TO HOST RECEIVE MIDI data is input processed then fed to the MIDI OU...

Page 39: ...in MINI DIN to D SUB 25 pin cable If your PC 1 type computer has a 9 pin serial port use the PC 2 type cable Maximum length 1 8 meters PC 2 8 pin MINI DIN to D SUB 9 pin cable Maximum length 1 8 meters 2 5 4 5 2 4 DIN 5 PIN DIN 5 PIN GND 1 5 2 3 2 1 MINI DIN 8 PIN MINI DIN 8 PIN 4 4 3 5 8 6 7 7 6 8 HSK o RxD HSK i GND TxD RxD GP i TxD 4 3 5 3 2 1 D SUB 25 PIN MINI DIN 8 PIN 7 4 8 2 5 TxD GND RxD R...

Page 40: ...it designed specifically for digital audio data processing The CBX D5 uses the same Yamaha DSP IC as those used in the SPX900 Multi effect Processor and the DMR8 Digital Mixer Recorder Emphasis Before A D conversion a 6dB octave boost starting at 3 5kHz is applied to the audio signal During D A conversion the emphasis is automatically detected by the replay device and de emphasis is applied Fragme...

Page 41: ...II S PDIF Sony Philips Digital Interface Format A digital interface format established by Sony and Philips that is used to transfer digital audio data between consumer type digital audio equipment such as CD players consumer DAT recorders and the new DCC recorders Two channels of digital audio left right are carried in one connection usually a phono RCA jack type connection On the CBX D5 this form...

Page 42: ...36 Chapter 13 Recording setup table 13 Recording setup table Sound files Recording Project Date Notes Sound File No Sound File name Sound File Contents Sampling Frequency Input Source Length Time File Size MB 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 ...

Page 43: ...ax ANALOG OUT 1 2 3 4 XLR 3 32 type x4 17dB max AES EBU IN 1 2 XLR 3 31 type x1 AES EBU OUT 1 2 3 4 XLR 3 32 type x2 CD DAT IN OUT 1 2 Phono RCA jack x2 Y2 IN OUT 1 2 8 pin DIN x2 WORD CLK IN OUT BNC x2 MIDI IN OUT THRU 5 pin DIN x3 TO HOST 8 pin mini DIN x1 MIDI baud rate 31 250 bps bits per second Mac baud rate 31 250 bps 1MHz clock PC1 baud rate 31 250 bps PC2 baud rate 38 400 bps SCSI 50 way A...

Page 44: ...PC AT 15 SCSI 14 SCSI ID setting 16 SCSI termination 17 size 13 what type 13 working with 18 Headphone monitoring 21 I ID SCSI setting 16 Input level meters 21 Installation 2 Introduction 1 M MIDI IN OUT THRU 12 To Host 30 O Output level meters 23 P Partitioning hard disks 19 PB FREQ 23 PC AT hard disks 15 Playback 23 R Rear panel an explanation 10 REC FREQ choosing 20 what is it 4 Recording 20 S ...

Page 45: ...e Dly LR C St Flange Dly LR 20 Stone Room S Rev White Room 67 St Chorus Dly LR C St Chorus Dly LR 21 Cathedral 68 Symph Dly LR C Symph Dly LR 22 Dark Church S Rev Tunnel 69 St Phasing Dly LR C St Phasing Dly LR 23 Tunnel 70 Hall Plate D Hall Plate 24 Cavern S Rev Canyon 71 Echo Rev D Echo Rev 25 Soft Caynon 72 Delay Rev D Delay Rev 26 Alhambra Guitar S Rev Basement 73 Flange Chorus D Flange Chorus...

Page 46: ...2 Chapter 2 Chapter Add 2 DSP DEQ DMIX Block Diagram ...

Page 47: ...68 9 103 4 0 22 299 4 10 2 24 Cavern 25 5 10 639 40 60 66 10 0 24 399 4 70 2 25 Soft Caynon 24 4 10 1109 74 55 41 20 21 10 399 4 70 2 26 Alhambra Guitar 21 8 10 79 72 79 103 4 0 23 499 4 70 1 27 Small Cellar 9 3 5 79 22 18 38 26 0 22 199 4 70 1 28 Drum Room 17 4 9 79 18 29 38 28 3 24 199 4 70 1 29 Bathroom Vocals 5 8 3 79 32 15 31 6 6 22 99 4 70 1 30 Early Ref Vocal 2 14 10 10 379 9 2499 111 0 13 ...

Page 48: ...Q Sympho 7 8 10 10 3 9 14 69 100 65 Warm Phase 11 9 8 3 8 9 28 100 45 100 66 St Flange Dly LR 8 86 11 80 4149 4299 4149 4299 123 100 67 St Chorus Dly LR 17 70 60 4149 4299 4149 4299 126 40 68 Symph Dly LR 15 80 3405 4299 4299 4149 122 40 69 St Phasing Dly LR 11 100 45 3718 2081 7999 3988 119 40 70 Hall Plate 29 2 7 663 15 9 7 8 897 17 71 Echo Rev 3199 2999 74 19 2 10 299 78 3 15 72 Delay Rev 4799 ...

Page 49: ...1 1 4 51 7 0 11 3 6 11 100 12 1 5 52 7 5 12 4 0 12 110 13 1 6 53 8 0 13 4 5 13 125 14 1 7 54 8 5 14 5 0 14 140 15 1 8 55 9 0 15 5 6 15 160 16 1 9 56 9 5 16 6 3 16 180 17 2 0 57 10 0 17 7 0 17 200 18 2 1 58 11 0 18 8 0 18 220 19 2 2 59 12 0 19 9 0 19 250 20 2 3 60 13 0 20 10 0 20 280 21 2 4 61 14 0 21 11 0 21 315 22 2 5 62 15 0 22 12 0 22 355 23 2 6 63 16 0 23 14 0 23 400 24 2 7 64 17 0 24 16 0 24 ...

Page 50: ...0 1 630 2 800 2 50 2 500 2 800 3 1000 3 63 3 630 3 1000 4 1200 4 80 4 800 4 1200 5 1600 5 100 5 900 5 1600 6 2000 6 125 6 1000 6 2000 7 2500 7 160 7 1200 7 2500 8 3200 8 200 8 1600 8 3200 9 4000 9 250 9 2000 9 4000 10 5000 10 315 10 2500 10 5000 11 6300 11 400 11 3200 11 6300 12 8000 12 500 12 4000 12 8000 13 10000 13 630 13 5000 13 10000 14 12000 14 800 14 6300 14 12000 15 16000 15 1000 15 16000 ...

Page 51: ... 26 1 11 21 51 22000 12 3 9 52 14 5 92 26 5 12 24 13 4 1 53 14 8 93 26 8 13 28 14 4 4 54 15 1 94 27 1 14 34 15 4 6 55 15 4 95 27 5 15 43 16 4 9 56 15 6 96 27 8 16 49 17 5 2 57 15 9 97 28 1 17 57 18 5 4 58 16 2 98 28 5 18 68 19 5 7 59 16 5 99 28 8 19 85 20 5 9 60 16 8 100 29 2 20 97 21 6 2 61 17 1 101 29 5 21 114 22 6 5 62 17 3 102 29 9 22 137 23 6 7 63 17 6 103 30 2 23 170 24 7 0 64 17 9 24 195 25...

Page 52: ...le 2 25 11 HPF Hz Thru 1000 Table 3 31 Type 20 Stone Room 29 Bathroom Vocal Room Simulation Type No Parameter Name Unit Minimum Maximum Step Table Max Int Local Table 1 1 Reverb Time sec 0 3 30 0 Table 1 69 Data Value 2 High 0 1 1 0 0 1 9 3 Diffusion 0 10 1 10 0 Front 4 Initial Delay ms 0 1 200 0 0 1 1999 1 Center 5 Width m 0 5 30 2 Table 8 103 2 Rear 6 Height m 0 5 30 2 Table 8 103 7 Depth m 0 5 ...

Page 53: ...e Unit Minimum Maximum Step Table Max Int Local Table 1 1 Type sec Type A Type B LocalTab 1 1 Data Value 2 Room Size 0 1 20 0 0 1 199 3 Liveness 0 10 1 10 0 Type A 4 Diffusion 0 10 1 10 1 Type B 5 Initial Delay ms 0 1 400 0 0 1 3999 6 ER Number 1 19 1 18 7 Feedback Delay ms 0 1 800 0 0 1 7999 8 Feedback Gain 99 99 1 198 9 HPF Hz Thru 1000 Table 3 31 10 LPF KHz 1 Thru Table 2 25 Type 38 Delay L R N...

Page 54: ...imum Step Table Max Int 1 Lch Init Delay Time ms 0 1 680 0 0 1 6799 2 Lch FB Delay Time ms 0 1 680 0 0 1 6799 3 Lch FB Gain 99 99 1 198 4 Rch Init Delay Time ms 0 1 680 0 0 1 6799 5 Rch FB Delay Time ms 0 1 680 0 0 1 6799 6 Rch FB Gain 99 99 1 198 7 Lch FB High Control 0 1 1 0 0 1 9 8 Rch FB High Control 0 1 1 0 0 1 9 9 HPF Hz Thru 1000 Table 3 31 10 LPF KHz 1 Thru Table 2 25 Type 41 Subtle Pitch ...

Page 55: ...inimum Maximum Step Table Max Int 1 1 Pitch 24 24 1 48 2 1 Fine cent 100 100 1 200 3 1 Delay ms 0 1 1300 0 0 1 12999 4 2 Pitch 24 24 1 48 5 2 Fine cent 100 100 1 200 6 2 Delay ms 0 1 1300 0 0 1 12999 7 3 Pitch 24 24 0 1 48 8 3 Fine cent 100 100 1 200 9 3 Delay ms 0 1 1300 0 0 1 12999 10 Type 44 Aural Exciter No Parameter Name Unit Minimum Maximum Step Table Max Int 1 HPF Hz 500 16000 Table 4 15 2 ...

Page 56: ...nit Minimum Maximum Step Table Max Int 1 Wave PM Depth 0 100 1 100 2 Wave PM Freq Hz 0 05 40 0 05 799 3 Wave AM Depth 0 100 1 100 4 Wave AM Freq Hz 0 05 40 0 05 799 5 Low Gain dB 12 12 2 12 6 High Gain dB 12 12 2 12 7 8 9 10 Type 47 Stadium Echo Reverb No Parameter Name Unit Minimum Maximum Step Table Max Int 1 Echo Lch Delay ms 0 1 320 0 0 1 3199 2 Echo Lch FB Gain 99 99 0 1 198 3 Echo Rch Delay ...

Page 57: ...Hz 0 05 40 00 0 05 799 2 Modulation Depth 0 100 1 100 3 Modulation Delay 0 1 100 0 0 1 999 4 Modulation FB Gain 0 99 1 99 5 Reverb Time sec 0 3 30 0 Table 1 69 6 Reverb High 0 1 1 0 1 9 7 Rev Initial Delay ms 0 1 200 0 1 1999 8 Rev Mix Level 0 100 1 100 9 HPF Hz Thru 1000 Table 3 31 10 LPF KHz 1 Thru Table 2 25 Type 50 Guitar Chorus Reverb Chorus Rev No Parameter Name Unit Minimum Maximum Step Tab...

Page 58: ...e Unit Minimum Maximum Step Table Max Int 1 Modulation Freq Hz 0 05 40 00 0 05 799 2 Modulation Depth 0 100 1 100 3 Modulation Delay 0 1 5 0 0 1 49 4 5 Reverb Time sec 0 3 30 0 Table 1 69 6 Reverb High 0 1 1 0 1 9 7 Rev Initial Delay ms 0 1 200 0 1 1999 8 Rev Mix Level 0 100 1 100 9 HPF Hz Thru 1000 Table 3 31 10 LPF KHz 1 Thru Table 2 25 Type 53 Aural Exciter Rev No Parameter Name Unit Minimum Ma...

Page 59: ...ion Level 0 100 1 100 2 Middle Freq Hz 315 6300 Table 6 14 3 Middle Gain dB 12 12 2 12 4 Treble Gain dB 12 12 2 12 5 Dly Lch Delay ms 0 1 1360 0 0 1 13599 6 Dly Rch Delay ms 0 1 1360 0 0 1 13599 7 Dly FB Gain 99 99 1 198 8 Delay Mix Level 0 100 1 100 9 HPF Hz Thru 1000 Table 3 31 10 LPF KHz 1 Thru Table 2 25 Type 56 Distortion Echo No Parameter Name Unit Minimum Maximum Step Table Max Int 1 Distor...

Page 60: ...Name Unit Minimum Maximum Step Table Max Int 1 Low Freq Hz 32 2000 Table 5 18 2 Low Gain dB 12 12 2 12 3 Mid Freq Hz 315 6300 Table 6 14 4 Mid Gain dB 12 12 2 12 5 High Freq Hz 500 16000 Table 7 15 6 High Gain dB 12 12 2 12 7 Dly Lch Delay ms 0 1 1360 0 0 1 13599 8 Dly Rch Delay ms 0 1 1360 0 0 1 13599 9 Dly FB Gain 99 99 1 198 10 Delay Mix Level 0 100 1 100 Type 61 Deep Echo EQ Echo No Parameter ...

Page 61: ...1 Low Freq Hz 32 2000 Table 5 18 2 Low Gain dB 12 12 2 12 3 Mid Freq Hz 315 6300 Table 6 14 4 Mid Gain dB 12 12 2 12 5 High Freq Hz 500 16000 Table 7 15 6 High Gain dB 12 12 2 12 7 Chorus Mod Freq Hz 0 05 40 0 0 05 799 8 Chorus PM Depth 0 100 1 100 9 Chorus AM Depth 0 100 1 100 10 Chorus Mix Level 0 100 1 100 Type 64 Elec Guitar EQ Sympho EQ Sympho No Parameter Name Unit Minimum Maximum Step Table...

Page 62: ...5 40 00 0 05 799 2 Modulation Depth 0 100 1 100 3 Modulation Delay 0 1 100 0 0 1 999 4 Modulation FB Gain 0 99 1 99 5 Delay Lch Delay ms 0 1 800 0 0 1 7999 6 Delay Rch Delay ms 0 1 800 0 0 1 7999 7 Delay FB1 Delay ms 0 1 800 0 0 1 7999 8 Delay FB2 Delay ms 0 1 800 0 0 1 7999 9 Delay FB Gain 99 99 1 198 10 Delay Mix Level 0 100 1 100 Type 67 St Chorus Delay L R No Parameter Name Unit Minimum Maximu...

Page 63: ... 799 2 Modulation Depth 0 100 1 100 3 Modulation Delay 0 1 5 0 0 1 49 4 5 Delay Lch Delay ms 0 1 800 0 0 1 7999 6 Delay Rch Delay ms 0 1 800 0 0 1 7999 7 Delay FB1 Delay ms 0 1 800 0 0 1 7999 8 Delay FB2 Delay ms 0 1 800 0 0 1 7999 9 Delay FB Gain 99 99 1 198 10 Delay Mix Level 0 100 1 100 Type 70 Hall Plate No Parameter Name Unit Minimum Maximum Step Table Max Int 1 Hall Reverb Time sec 0 3 30 0 ...

Page 64: ...m Maximum Step Table Max Int 1 Delay Lch Delay ms 0 1 640 0 0 1 6399 2 Delay Rch Delay ms 0 1 640 0 0 1 6399 3 Delay FB Gain 99 99 1 198 4 Reverb Time sec 0 3 30 0 Table 1 69 5 Rev High 0 1 1 0 0 1 9 6 Rev Diffusion 0 10 1 10 7 Rev Initial Delay ms 0 1 200 0 0 1 1999 8 Rev ER Rev Balance 0 100 1 100 9 Rev HPF Hz Thru 1000 Table 3 31 10 Rev LPF KHz 1 Thru Table 2 25 Type 73 Flange Chorus No Paramet...

Page 65: ...nt 1 Sympho Mod Freq Hz 0 05 40 0 0 05 799 2 Sympho Mod Depth 0 100 0 1 100 3 4 5 6 Chorus Mod Freq Hz 0 05 40 0 05 799 7 Chorus PM Depth 0 100 0 1 100 8 Chorus AM Depth 0 100 1 100 9 10 Type 76 Flange Rev No Parameter Name Unit Minimum Maximum Step Table Max Int 1 Flange Mod Freq Hz 0 05 40 0 0 05 799 2 Flange Mod Depth 0 100 0 1 100 3 Flange Mod Delay 0 1 100 0 1 999 4 Flange Mod FB Gain 0 99 0 ...

Page 66: ...req Hz 0 05 40 0 0 05 799 2 Modulation Depth 0 100 0 1 100 3 4 5 Reverb Time sec 0 3 30 0 Table 1 69 6 Reverb High 0 1 1 0 1 9 7 Rev Diffusion 0 10 1 10 8 Rev Initial Delay ms 0 1 200 0 1 1999 9 HPF Hz Thru 1000 Table 3 31 10 LPF KHz 1 Thru Table 2 25 Type 79 Flange Delay L R No Parameter Name Unit Minimum Maximum Step Table Max Int 1 Modulation Freq Hz 0 05 40 00 0 05 799 2 Modulation Depth 0 100...

Page 67: ...ay ms 0 1 800 0 0 1 7999 8 Delay FB2 Delay ms 0 1 800 0 0 1 7999 9 Delay FB Gain 99 99 1 198 10 LPF KHz 1 Thru Table 2 25 Type 81 Sympho Delay L R No Parameter Name Unit Minimum Maximum Step Table Max Int 1 Modulation Freq Hz 0 05 40 00 0 05 799 2 Modulation Depth 0 100 1 100 3 4 5 Delay Lch Delay ms 0 1 800 0 0 1 7999 6 Delay Rch Delay ms 0 1 800 0 0 1 7999 7 Delay FB1 Delay ms 0 1 800 0 0 1 7999...

Page 68: ...0 127 Effect Return 1 Select 1 7 Effect Send 1 Level 0 127 Effect Return 1 Select 2 7 Effect Send 2 Level 0 127 Effect Return 2 Select 1 7 Effect Return 2 Select 2 7 Effect Return 3 Select 1 7 DEQ Effect Return 3 Select 2 7 parameter name value Effect Return 4 Select 1 7 IIR1 Parameter Effect Return 4 Select 2 7 Effect Return 1 Level 1 0 127 IIR2 Parameter Effect Return 1 Level 2 0 127 Effect Retu...

Page 69: ...200 1 15 22 220 2 18 23 250 3 24 24 280 4 30 25 315 5 36 26 355 6 42 27 400 7 48 28 450 8 29 500 30 560 6 value Mode 31 630 0 internal 32 700 1 external 33 800 2 AES EBU 34 900 3 Y2 35 1000 4 CD DAT 36 1100 37 1200 7 value Select 38 1400 0 OUT1 39 1600 1 OUT2 40 1800 2 OUT3 41 2000 3 OUT4 42 2200 4 mute 43 2500 44 2800 8 value Mode 45 3200 0 Reserved 46 3600 1 Thru Software Thru 47 4000 2 PEQ 4IIR...

Page 70: ...lect 1 18 Parameter 15 MSB 68 Effect Return 4 Select 2 19 Parameter 15 LSB 69 Effect Return 1 Level 1 20 Parameter 16 MSB 70 Effect Return 1 Level 2 21 Parameter 16 LSB 71 Effect Return 2 Level 1 22 Parameter 17 MSB 72 Effect Return 2 Level 2 23 Parameter 17 LSB 73 Effect Return 3 Level 1 24 Parameter 18 MSB 74 Effect Return 3 Level 2 25 Parameter 18 LSB 75 Effect Return 4 Level 1 26 Parameter 19 ...

Page 71: ...ume 12 Bus 2 Volume 13 Bus 3 Volume 14 Bus 4 Volume 15 Effect Send 1 Level 16 Effect Send 2 Level 17 Reserved 18 Reserved 19 Reserved 20 Reserved 21 Reserved 22 Reserved 23 DEQ Reserved 24 Reserved 25 Reserved 26 Reserved 27 Reserved 28 Reserved 29 IIR 1 Parameter 30 IIR n Parameter Type 0 37 Frequency 1 IIR 2 Parameter 38 Gain 2 Q 3 45 Reserved 4 IIR 3 Parameter 46 Reserved 5 Reserved 6 53 Reserv...

Page 72: ...HOST IN MIDI OUT and MIDI IN HOST OUT respectively 3 System Messages The CBX D5 handles System Exclusive messages like those below Digital Track Message Note 1 Note 1 The Digital Track Message hereafter referred to as DT is comprised of the Yamaha System Exclu sive ID and a Digital Track Command and is a System Exclusive message The Digital Track Messages used with this equipment are formatted as ...

Page 73: ...rameter dump CAUTION When recording to a hard disk one unit is used for multi channel recording playback For this reason parameters are separated into Common and Channel parameters The parameter addresses used are as follows Channel parameter base address h 0 Common parameter base address h 2000 DT status MS 3 bits Sub status LS 4 bits 0 2 Reserved 3 DT status of encapsulated MIDI command Sub stat...

Page 74: ... I I I byte count Least significant 7bits bc L byte count 0 80 bc H bc L 0ddddddd data 0ddddddd data 11110111 F7 Status 4 Substatus 1 Databyte 0 channel Databyte 1 2 parameter address Databyte 3 4 byte count 11110000 F0 01000011 43 YAMAHA system exclusive ID 01111000 78 YAMAHA system exclusive sub ID 01000001 41 parameter request status 0ccccccc nn channel number 0mmmmmmm mm parameter address Most...

Page 75: ...ol values are not stored in the memory RPN Pitch bend Channel mode message 00000110 06 data entry for RPN 00000111 07 channel volume 00001011 0B channel expression 00010000 10 01100000 60 data increment for RPN 01100001 61 data decrement for RPN 01111000 78 All sound off 00000000 00 Pitch bend range 01111001 79 reset all controllers ...

Page 76: ...32 Chapter 32 Chapter Add 32 MIDI Implementation chart ...

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